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Tabari McCoy

McCoy on Movies: Irresistible Skewers Modern Politics

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“Hmmm … Do you think that the NFL is going to have a season this fall or no?” Gary Zimmer (Steve Carell) and Diana Hastings (Mackenzie Davis) ponder their next move in a scene from writer/director Jon Stewart’s political satire IRRESISTIBLE. Credit: Daniel McFadden / Focus Features.

 

WATCH THE TRAILER(S) HERE:




KEY CAST MEMBERS: Steve Carell, Chris Cooper, Rose Byrne, Mackenzie Davis, Topher Grace, Natasha Lyonne, CJ Wilson, Brent Sexton and Will Sasso DIRECTOR(S): Jon Stewart

WEB SITE: www.watchirresistible.com

THE BACK STORY: A story of politics and tricks, Irresistible stars Steve Carell as Gary Zimmer. A strategist for the Democratic party, Gary is seeking a candidate that can galvanize the party — and more importantly, the general public – as a potential future presidential candidate.


And that’s when he comes across a viral video shot in Deerlaken, Wisconsin featuring Jack Hastings (Chris Cooper).


A retired Marine colonel, Jack’s speech at a local city council catches Gary’s attention as it has everything he could want in a candidate: Passion, emotional appeal and all American values with compassion for his fellow man. Intrigued, Gary heads to Deerlaken to convince Jack to run for office while getting to know his daughter Diana (Mackenzie Davis). Problem is, once Gary sees the opportunity to turn Jack into a star, his Republican strategist rival Faith Brewster (Rose Byrne) arrives on the scene to help the town’s incumbent mayor (Brent Sexton) win at any cost. 


So, what happens when small town America becomes the center of the political universe? A story that, as the events are set to prove, makes politics as unusual irresistible. 

THE REVIEW: Written and directed by Jon Stewart (yes, the former host of The Daily Show), Irresistible is a classic slow build comedy where sitting through the lead up to the payoff can at times feel a little like a chore – until the payoff hits.Carell is much like a smarter, savvier version of his former Michael Scott persona from The Office days with Byrne serving as a very Kellyanne Conway-esque foil to his character. Likewise, Cooper – ever great at playing the older everyman – turns in another solid performance to add to his extensive resume while showing a softer side than he typically gets to exhibit. And Davis is competent enough to do everything her character needs to do in a believable fashion to keep things moving along.

The thing, as alluded to above, that makes Irresistible a solid watch is the film’s last 15 minutes in which the point of the film hits home. Given Stewart’s knowledge (and well-known) critique of the American political system as it stands today, Irresistible sharply skewers everything from cable news, viral videos, the selling of a candidate’s image versus what they actually believe and of course, the two party system as a whole. While not re-inventing the wheel in any sense, Irresistible‘s biggest joke comes in showing how much the current setup is primed to show the joke is on all of us.

In doing so, the film packs enough laughs to show why, without major change, our current political system is quite possibly no laughing matter.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 
 

McCoy on Movies: Amazon Studios’ Hijacking Thriller 7500 Fakes Familiar, Mediocre Flight

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“I really wish I had watched that Blu-Ray of Airplane my friend gave me before I got up here!” Tobias (Joseph Gordon-Levitt) finds himself in not-so-friendly skies in director Patrick Vollrath’s hijacker thriller 7500. Credit: Courtesy of Amazon Studios. All rights reserved.

 

 

WATCH THE TRAILER(S) HERE:

 




KEY CAST MEMBERS: Joseph Gordon-Levitt, Omid Memar Murathan Muslu, Carlo Kitzlinger, Aylin Tezel and Paul Wollin
DIRECTOR(S): Patrick Vollrath

LINK TO WATCH NOW: Watch here
THE BACK STORY: Tobias (Joseph Gordon-Levitt), an American, is set to serve as the co-pilot to Michael (Carlo Kitzlinger) as they fly from Berlin to Paris. Tobias’ girlfriend/mother of his child (Aylin Tezel) is one of the flight attendants and much more interested in discussing their personal lives than the flight ahead of them.


That all changes, however, when three hijackers – Kenan (Murathan Muslu), Daniel (Paul Wollin) and teenager Vedat (Omid Memar) – armed with piece of broken glass make an attempt to take over the plane. Tobias is successful in subduing Kenan and locks the cabin on his accomplices, but not before grave injury to Michael. Thus, when Daniel begins threatening the lives of the other passengers on the plane unless he is let back into the cockpit, Tobias – dealing with a severe injury of his own, is left with extreme moral dilemmas and not much time in which to make them.

THE REVIEW: 7500 starts off intriguing … And then pretty much crashes and burns thanks to a familiar plot line that brings nothing new to the table. While Gordon-Levitt clearly shines above his co-stars, there are plot points that don’t feel realistic in the circumstances presented, the secondary characters are either over-developed in cliché fashion or barely developed at all … And the overall Muslim hijacking storyline is “been there, seen that” pretty much from beginning to end.Fortunately, at barely over 90 minutes including the credits, 7500 has enough inherent “how will it end?” intrigue to it to keep enough people watching … Even if it ends how 90% of people are likely to figure it out. Director Patrick Vollrath keeps things tight and claustrophobic to enhance the super-familiar story, but there’s a good chance that if you’ve seen a plane hijacking film recently, you’ll ask for transfer and/or put 7500 on a quick layover and not get back on the flight.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: Selah and the Spades 

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“Hi … This is my ‘I’m a serious person despite my age’ face.” Selah (Lovie Simone) runs an empire at a Pennsylvania prep school in Amazon Studios new teen drama SELAH & THE SPADES. Credit: Amazon Studios. All rights reserved.

WATCH THE TRAILER(S) HERE:




KEY CAST MEMBERS: Lovie Simone, Celeste O’Connor, Jharrel Jerome, Ana Mulvoy Tan and Jesse Williams DIRECTOR(S): Tayarisha Poe

LINK TO WATCH NOW: Watch here
THE BACK STORY: Set inside the world of Haldwell, an elite Pennsylvania boarding school, Selah and the Spades focuses on Selah Summers (Lovie Simone), leader of the Spades, one of five factions that essentially run the school’s underworld. There’s also the Skins, the Sea, the Prefects and the Bobbies, the latter of which is run by the appropriately named, beret wearing Bobby (Ana Mulvoy Tan). Each group has their specialty operation, the Spades being the most powerful (much to Bobby’s chagrin) since they supply the student body with classic vices in drugs and alcohol. But now, Selah has unexpectedly found herself with a bit of an existential crisis as being a senior, she will soon graduate and has no one to whom to pass her power. Her second in command, Maxxie (Jerrell Jerome), isn’t an option.


Enter Paloma (Celeste O’Connor).


A sophomore with an eye for photography, Paloma catches Selah’s attention, quickly forming a friendship. But as Paloma star rises, Selah start to re-assess what it means to have power and her legacy.

THE REVIEW: 21.46. That’s the exact amount of time that passed before I realized that writer/director Tayarisha Poe’s debut feature Selah and the Spades was not for me. And if you’re out of high school, I doubt it will be for you as well thanks to an underwhelming story, a mis-mash of performances and an ending that is as unremarkable as the 80-plus minutes that precede it.Poe is on record as saying she likes “stories about people who do something that everyone agrees is wrong but no one thinks they are wrong in doing it.” That explains the motivation of the making of Selah; what it doesn’t explain, however, is why anyone else should feel compelled to watch the finished product. The film plods along as a snail’s pace despite barely being 90 minutes and change with credits, the interesting story – the five factions – is not the focus of the story (at least the opening narration warns of that) and thus feels like it only exists to push Selah’s exploration of her life. Whereas there are plenty of compelling teen dramas that anyone can relate to, Selah feels like it exists for the sake of its own (in this case, its writer/director’s) vanity. While it is nice to see a film showcasing African-Americans in a light rarely if ever seen – Selah is empowered yet conflicted in proving herself because of her tenuous, under-explored relationship with her mother – in motion pictures, the movie is just … not interesting. The premise is there and Simone seems capable of making the story work despite a supporting cast outside of that doesn’t offer much outside of O’Connor but the movie … just doesn’t work.

The world in which the characters exist feels incredibly forced: Williams’ headmaster would be fired for his ineptitude in real life, the underutilized factions and their council are as ridiculous as the average talking head news panel. Likewise, Selah’s character, which is supposed to be multi-faceted, is nowhere near as complex and nuanced when you break it down and the whole affair feels like a teen drama taken to an extreme for the sake of itself. Save for teens invested in watching people their age explore something they often don’t have as they mature – power (which is what the film tries to convey) – most people will find the film much like it’s story: Underdeveloped, underwhelming and underserving of the love the people that would be most invested in it (youths, African-Americans).

I wish Selah and the Spades had more to say or, at the very least, did it better. Then again, maybe like high school itself, it’s better left to just the cool kids.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 
 

McCoy on Movies: Wendy

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Peter Pan and friends endure a terribly boring
and uninteresting adventure in Wendy

Titular character Wendy (Devin France) and Peter Pan (Yashua Mack) prepare to fly in a scene from director Behn Zeitlin’s imaginative re-envisioning of J.M. Barrie’s story about children who never grow up in WENDY. Credit: Photo courtesy of Searchlight Pictures © 2020 Twentieth Century Fox Film Corporation. All rights reserved.


WATCH THE TRAILER(S) HERE:




KEY CAST MEMBERS: Devin France, Yashua Mack, Gage Naquin, Gavin Naquin, Ahmad Cage, Krzysztof Meyn, Romryi Ross and Shay WalkerDIRECTOR(S): Behn Zeitlin

THE BACK STORY: A wildly different take on previous Peter Pan productions, Wendy stars Devin France as the titular character. Wendy, along with her two brothers Douglas and James (played by real life brothers Gage and Gavin Naquin), is a young child who we are first introduced to inside of the greasy spoon where their mother (Shay Walker) works. When the trio of siblings were younger, their friend Thomas (Krzysztof Meyn) went off on a train and was never seen again. 


Curious as to what happened, Wendy and her brothers one night sneak off when the train reappears. That is how they meet a young boy named Peter (Yashua Mack) who leads them on a journey to a mysterious island where children never age – as long as they believe in the island and “Mother,” a glowing whale-like sea creature that serves as the heart and soul of the island. The children enjoy their stay at the beginning, playing from sunrise to sunset … But they have no idea what awaits them as their extended stay turns into a life-changing experience, provided Wendy can get her family home once again.

THE REVIEW: In contention for both the most imaginative and worst movie of 2020 thus far, Wendy is at best wild and weird and at worst boring and grandiose.How can you take a classic for most and, at the very least, extremely familiar, story and turn it into a nearly 2 hour epic with no audience? Well, if you’re co-writer and director Behn Zeitlin (Beasts of the Southern Wild), you (1) take a children’s tale and make it geared towards an adult audience as you (2) have underperforming young actors recite (3) inane dialogue whilst (4) telling your story at an extremely methodical pace (5) too slow for children and too (6) plodding for adults. The movie is an art house take on a classic children’s story that is too artistic for anyone to be as entertained as the is it by itself.

While some will praise (or at the very least, commend) Zeitlin for his progressive thinking in his casting, a Caribbean Peter Pan with a distinct patois is something you’ll either be on board with or not. Likewise, the Pan character as portrayed in Wendy is both aloof and self-absorbed and less a compelling figure as much as he is a necessary conduit to arrive at various story points. (And not to criticize a child’s acting, but given that this is a critique, there are times Mack does not seem like the best choice for Zeitlin’s vision.)

Likewise, the older actors feel like last-minute replacements in their limited roles that match their limited acting skills. In addition, the new “mother” figure in the film – a deep sea creature that serves as the heart of the mythical island that Peter literally calls Mother – is a terrible metaphor for childhood/innocence and a lousy replacement for the role Wendy has in Barrie’s work. There are several plot discrepancies tied to the creature, which is a lot like the movie itself: An interesting but hodgepodge albatross that underdeveloped and misrepresentative of whatever it is supposed to represent.

Given the nearly decrepit pace the story moves at – coupled with the odd camera choices – Mack is the least of the film’s problems. Whereas Wendy aims to be ambitious, it often comes off as forced, odd for the sake of odd and at worst, completely non-compelling. It simply exists for its own sake with payoffs coming off so heavy-handed there is no inherent intrigue other than seeing how it ends.

These are all the reasons that Wendy is better off, like the Lost Boys themselves, staying missing from your movie viewing queue.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

McCoy on Movies: Onward

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Disney•Pixar takes animated, emotional, teenage sibling tale with a
Weekend at Bernies’s flair in its latest adventure Onward

“If this weren’t an animated movie and this were happening, one of us would be on the way to the hospital!” Barley (left, voiced by Chris Pratt) and his brother Ian (right, voiced by Tom Holland) share a dance with their father – or at least half of him – in a scene from Disney/Pixar’s latest adventure ONWARD. Credit: Pixar © 2019 Disney/Pixar. All rights reserved.

WATCH THE TRAILER(S) HERE:



 

KEY CAST MEMBERS: Tom Holland, Chris Pratt, Octavia Spencer, Julia Louis-Dreyfuss Mel Rodriguez, Lena Waithe and Ali WongDIRECTOR(S): Dan Scanlon

THE BACK STORY: Once upon a time, the world in which elf brothers Barley (Chris Pratt) and Ian (Tom Holland) Lightfoot now live was full of magic. But then innovation in the form of technology took over, leaving magic to fade into the point of almost existing as nothing more than folklore. And for Barley, that’s something he misses greatly as magic and lore is his favorite thing in the world. In contrast, Ian doesn’t really know what his favorite thing yet as his shy, awkward nature often keeps him from socializing – which is a problem since he’s about to celebrate his 16th birthday. His mom Laurel (Julia Louis-Dreyfuss) just wants the best for both her sons, even though there’s something she knows that Ian misses his father Wilden something awful. Passing away during Ian’s youth, Wilden is an enigma to his youngest son who wishes he could just get the chance to spend some quality time with him.


Then, Laurel reveals a gift from Wilden that changes everything … If they are able to complete a magical quest like the ones Barley has been training for his entire life. Now, it’s up to both boys – despite all the colorful characters they’ll meet along the way – to make their wish to see their father again come true.


And to do so, they must move onward …

THE REVIEW: At this point, Disney•Pixar has pretty much perfected the way it makes movies to a science: (1) Insert cutesy scenario with characters that at first seem nice and whimsical; (2) Add emotional depth to the story by making the most non-human characters as human as possible with a variety of emotional struggles; (3) Add enough depth to make them relatable to the struggles of young people while at the same time making them palatable to adults – or in the case of Up, reverse the formula and (4) Bring the story to an emotional, action-packed climax with the occasional twist, turn and dose of comedy that everyone has come to love.Onward, which begins with a more serious, straightforward tone than many Disney•Pixar ventures, does all four of these things to deliver the quality entertainment for three decades-plus.

Adolescence is a popular movie staple for a simple reason: It’s a time period that so many struggle with yet shapes us all in so many long-lasting yet unique to us all ways that you can seemingly never run out of means to do so. With Onward, Disney•Pixar explores sibling rivalry, the path to self-discovery and the importance of a parental figure/mentor in a child’s life – all with the humor, conflict and heartwarming resolution audiences love. Holland, essentially channeling all of his Peter Parker energy into Ian, delivers a solid performance that gets to the heart of his character’s issues, which makes his eventual outcome all the more worthwhile. Pratt for his part plays a great second banana to steer Holland’s character through his journey. Likewise, Waithe adds a much-needed dose of playful enthusiasm as The Manticore, a legendary creature who has fallen victim to the convenience of the modern world and director Dan Scanlon’s Weekend at Bernie’s-like usage of the boys’ father.

It all adds up to an entertaining package which should inspire audience to march onward to the theater to enjoy another (near) perfect Disney•Pixar entertaining, family-friendly adventure.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: The Invisible Man

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An old horror icon gets re-envisioned for the #MeToo era in The Invisible Man

“Take my hand … And then watch me try to kill you with the other one!” Cecilia Kass (Elisabeth Moss) showers while an unbeknownst presence keeps watch in a scene from Saw-alum Leigh Whannell’s THE INVISBLE MAN. Credit: Universal Pictures. © 2020 Universal Studios. All rights reserved.
 

WATCH THE TRAILER(S) HERE:


 

KEY CAST MEMBERS: Elisabeth Moss, Aldis Hodge, Harriet Dyer, Oliver Jackson-Cohen, Storm Reid and Michael Dorman DIRECTOR(S): Leigh Whannell

THE BACK STORY: Cecilia Kass (Elisabeth Moss) is an architect that seemingly has it all given that the house she lives in is nothing short of a multi-million dollar beachfront palatial estate in San Francisco. But that doesn’t explain why Cecilia is attempting to flee in the middle of the night, now does it? No, that answer comes in the form of the abuse Cecilia claims her now ex, Adrian Griffin (Oliver Jackson-Cohen) has heaped upon her mentally and physically. Barely escaping, Cecilia takes refuge with a childhood friend turned police detective in James (Aldis Hodge) and his daughter Sydney (Storm Reid). 


Then Adrian’s brother – and the director of his estate – Tom (Michael Dorman) informs Cecilia and her sister Alice (Harriet Dyer) with bombshell news: Adrian, a tech magnate who built his fortunate in the field of optics, has committed suicide and left her millions to be paid out in increments of $100,00 over the next few years – as long as she doesn’t commit any crimes and lives a generally good life. There’s just one problem …


Cecilia, over the course of a series of rather weird and unfortunate events, becomes convinced Adrian is still alive. And he’s apparently determined to drive her insane – or worse. Thus, Cecilia is forced to answer a question most people would never ponder.


How do you prove someone who is supposed to be dead is very much alive and torturing you when no one – including you – can see them?
THE REVIEW: There are typically two types of movies released in the first few months of a new year: (1) Award contenders/art house endeavors that studios hope get that one last push before the statues are given out and (2) films that the studios greenlighted … But in retrospect probably wish they hadn’t (Fantasy Island, anyone?) But, every once in a while, you get those “‘tweeners:” Movies that have elements that are somewhat enjoyable and fun … Even though you know in your heart you really wouldn’t call it a “good” movie.About one hour into writer/director Leigh Whannell’s (the Saw and Insidious franchises) take on the often forgotten (no pun intended) member of Universal’s monsters, it becomes quite apparent The Invisible Man matches the last description to a “T.”

On the pro-side, Moss delivers enough of an emotional performance to drive The Invisible Man, which is essentially a domestic abuse tale examining what happens to victims at the hands of their accusers. Moss carefully walks the line between movie dramatics and emotionally believability to keep her character’s credence valid, never giving in to the temptation to go bad 80s horror movie scream queen at each abusive turn. She is by far the most interesting character on screen, making her character interesting enough to keep watching the film to its climax. There’s also enough twists and turns to keep you intrigued in what will happen, a must in a film where too much predictably could have been present.

On the con-side, however, the majority of characters that aren’t Moss – Dorman is acceptable as Adrian’s brother – are lackluster in either direction or execution (again, no pun intended). Likewise, most of the scenes where Moss and others are attacked by, well, an invisible assailant just feel cartoonish despite the cast and crew’s best efforts. Thus, you get a mixed bag of push/pull that keep the film from diving too far off the deep end, but a lot of missed opportunities that could have pushed it into groundbreaking territory. However, by focusing on Moss’ character’s pain, The Invisible Man basically becomes a metaphor for all the abuse women have suffered at the hands of men in the #metoo era – and a stern warning to men about what could happen if they refuse to stop it.

All things considered, The Invisible Man isn’t a great movie by any means, but it’s not a completely unwatchable mess, either. It’s more a simple thriller for those seeking a simple thriller, but one that may catch fire due to today’s current socio-political climate. Some people may hate it, some people may love it – and arguments can be made to justify both’s point of view objectively.

Just don’t say you weren’t warned, however, if you come expecting to “see” something more.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: Bad Boys for Life

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Lawrence, Smith reunite for entertaining nostalgia in Bad Boys for Life

“Over here, partner – I think I see the dude who convinced me to do Gemini Man! Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) proceed with caution in a scene from co-directors Adil & Bilall’s addition to the Bad Boys franchise, BAD BOYS FOR LIFE. Credit: Ben Rothstein ™ 2019 CTMG, Inc. All rights reserved. 


WATCH THE TRAILER(S) HERE:



 

KEY CAST MEMBERS: Will Smith, Martin Lawrence, Joe Pantoliano, Paola Nuñez, Vanessa Hudgens, Alexander Ludwig, Charles Melton, Nicky Jam, Jacob Scipio and Kate del CastilloDIRECTOR(S): Adil & Bilall

THE BACK STORY: Mike Lowrey (Will Smith) has never needed the money. He has that thanks to his inheritance. He’s also apparently never needed love; sure he’s had “love” but nothing like what his partner Marcus Burnet (Martin Lawrence) and their always embattled leader, Captain Howard (Joe Pantoliano), have in their lives. Sure, he had a thing with Rita (Paola Nuñez) in the past, but that’s in the past. 


So, when his partner to make good on his threat to retire upon becoming a grandfather, Mike makes a bet with Marcus and wins – only he doesn’t get the chance to collect on that bet due to a ghost from his past: Isabel Aretas (Kate del Castillo), a.k.a. the Witch. It seems Isabel has an old score to settle with Mike from a very long time ago and has no problem using her willing son Armando (Jacob Scipio) to collect the debt. 


Now, as the body count starts piling up, Mike is going to need Marcus, Rita, Captain Howard and all the help he can get if he’s going to survive.

THE REVIEW: One key component of HBO’s acclaimed Watchmen television series revolved around the idea of one of the main characters being able to experience another a person’s memories via the ingestion of a pill dubbed “Nostalgia.” And while they had an adverse affect on Regina King’s character at first, they ultimately led to revelations that eventually proven to be essential to her and the overall ending of the first (and only?) season of the series.Watching Bad Boys for Life, one might have a similar take – for while the beginning of the film may start off a tad slower and/or more mundane than one might expect, once it gets going, all the fond memories fans of the first two films had will come quickly back to life.

Whereas the first two films relied inordinately upon the chemistry between Smith and Lawrence to carry them in Michael Bay’s explosion-filled paradise, Bad Boys for Life adds small bits of nuance to the mix to dive deeper into Smith’s and Lawrence’s characters personal lives. Smith’s rockstar cowboy realizes he’s fading into the twilight if he doesn’t change his ways in a way that doesn’t feel terribly contrived, all while Lawrence, Pantoliano and the film’s supporting players add strong punches of humor into the mix. (It’s kind of what last year’s already forgotten Shaft movie was hoping for but didn’t quite get right.) The ideas of growing old and growing up are at dual play in the film, Lawrence and Smith luckily handle both with enough flair and finesse to not make the film too dry or too frivolous for its own good.

Of course, the nostalgia of watching 90s comedy icons Smith and Lawrence is likely going to be more than enough for most audiences as the duo hasn’t any of their timing. Likewise, the action sequences under the eye of co-directors Adil & Bilall have all the usual buddy cop/action comedy panache you’d expect yet feel more fresh than familiarly overblown (for the most part). Throw in some strong female representation from Hudgens, Nuñez and del Castillo and the film has the entertainment value to make casual and die-hard fans happy.

If nothing else, Inner Circle will be just as pleased to take home all those residual checks for his best known song once again.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: Uncut Gems

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Adam Sandler’s problematic protagonist makes fool’s gold out of Uncut Gems

“OK, OK – I won’t ask you anymore questions about LeBron if you agree to not ask me anymore about Rob Schneider!” Kevin Garnett, left, listens as Howard Ratner (Adam Sandler) tries to make a deal as their mutual acquaintance Demany (LaKeith Stanfield) looks on in a scene from the Safdie Brothers’ latest drama UNCUT GEMS. Credit: © and ™ A24 Films. All rights reserved.

 

WATCH THE TRAILER(S) HERE:


KEY CAST MEMBERS: Adam Sandler, Idina Menzel, LaKeith Stanfield, Kevin Garnett, Eric Bogosian, Julia Fox, Keith Williams Richards, Tommy Kominik and Judd HirschDIRECTOR(S): Josh and Benny Safdie

THE BACK STORY: Howard Ratner (Adam Sandler) is a jeweler in New York City’s famed “Diamond District.” He’s got healthy children with his estranged wife Dinah (Idina Menzel), a wealthy father-in-law in Gooey (Judd Hirsch) and a streetwise business partner in Demany (LaKeith Stanfield) to help him get clientele like Boston Celtics power forward and future NBA champion Kevin Garnett (yes, played by Kevin Garnett). 


Unfortunately, Howard also has a lot of personal problems caused by his demons. That’s why he has an apartment in the city where his employee/girlfriend Julia (Julia Fox) and he can enjoy their rendezvouses and he is a massive gambler, which is why his in-law Arno (Eric Bogosian) wants him to pay him the money he is owed ASAP. That’s also why Arno’s two “business associates” Phil (Keith William Richards) and Nico (Tommy Kominik) are ready to beat Howard any chance they get. 


So, what happens when Howard receives a rare gem that ends up tying his future with Garnett, Arno and Julia all together? Let’s just say you can bet on it changing all of their lives forever. 

THE REVIEW: Sometimes you see a movie that features actors turning in fine performances with characters that are realistic in a story that makes perfect sense given the world in which they exist. Likewise, the direction is tight, the camera work draws you into those characters’ respective worlds and the pacing (for the most part) makes sense. But, for whatever reason, you just aren’t captivated by it, it lacks something that makes many (outside of those into artistic endeavors and/or laud “cinema” or “movies”).Unfortunately in the case of Uncut Gems, this factor works against the film and turns what one would hope could be a diamond into a rather frustrating piece of fool’s gold.

Other than the surreal joy of watching Kevin Garnett playing Kevin Garnett without acting like he is Kevin Garnett, Uncut Gems features a protagonist who is the textbook definition of a sad sack due to his own inability to get out of his own way. Sandler’s Howard Ratner is manic, fast-talking, obsessive and unappreciative of his own fortunes, always driven by his next big hit. Naismith Memorial Basketball Hall of Fame coach Pat Riley once famously coined the phrase “the disease of more,” saying “Success is often the first step towards disaster” – meaning that once one has a little bit of it, the compulsion for more of it often leads to one’s own undoing. Perhaps the Safdie brothers, like Sandler himself, are really big basketball fans, hence their need to create a character Riley himself might deem uncoachable. Thus, Uncut Gems is much like being a fan of a popular sports team that the rest of the league hates – only built for die-hard Sandler fans only (for the most part) who will support “their guy” no matter what.

Unlike Robert Pattinson in the Safdie brothers’ previous effort, the stellar Good Time, Ratner has zero redeeming qualities to the point you almost – almost – enjoy watching him fail. This is a self-destructive man doing self-destructive things: That may be the point, but while it’s a point well-taken, it is also one that isn’t exactly (for lack of a better word) fun point to watch.

Whereas Pattinson’s character was trying to do something wrong to provide a better life for he and his mentally challenged brother, Sandler’s character is a pure narcissist who treats everything and everyone – Julia especially – like just another trophy. (Given that he is a jeweler and what gems represent in both the film and in American society, of course, the metaphors abound aplenty.) Sandler’s character is King Midas … And anyone who’s paid attention to any basic Greek mythology in a social studies class knows how well that worked out for him.

Which is a shame, because Uncut Gems had a lot more potential to be a good Christmas present for someone outside of just hardcore Sandler and Garnett fans.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 
 

McCoy on Movies: The Rise of Skywalker

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Nostalgia, battle sequences likely enough to send longstanding
fans home happy with Star Wars: The Rise of Skywalker

“Just think – in some other galaxy, people will actually go pay to throw axes indoors when they could just get lightsabers and fight people to their potential deaths!” Kylo Ren (Adam Driver) faces off against Rey (Daisy Ridley) in a scene from STAR WARS: THE RISE OF SKYWALKER. Credit: © 2019 Lucasfilm Ltd.  & ™. All rights reserved.

 

WATCH THE TRAILER(S) HERE:


KEY CAST MEMBERS: Daisy Ridley, Adam Driver, John Boyega, Oscar Isaac, Anthony Daniels, Joonas Suotamo, Kelly Marie Tran, Richard E. Grant, Domhnall Gleeson, Carrie Fisher, Ian McDiarmid and Keri Russell with Billy D. WilliamsDIRECTOR(S): J.J. Abrams

THE BACK STORY: The ninth and final installment of arguably the greatest science fiction franchise in history, Star Wars: The Rise of Skywalker finds Rey (Daisy Ridley), Finn (John Boyega), Poe Dameron (Oscar Isaac) and General Leia Organa (Carrie Fisher) and what’s left of The Resistance preparing to take a grand final strike against The First Order, now firmly in the grasp of its new supreme leader Kylo Ren (Adam Driver) a.k.a. Ben Solo (if you don’t know why, you’re probably NOT ready to see this movie and need to catch up to the previous episodes). After a series of revealing discoveries, the Resistance and the First Order are set to face an epic clash, Rey and Kylo Ren destined to be the ones who may determine the fate of the galaxy.


Then again, the presence of the previously thought to be deceased Emperor Palpatine (Ian McDiarmid) may change both of their plans forever if he has his way.

THE REVIEW: You have four types of people when it comes to Star Wars: (1) The uninitiated/unconcerned, a.k.a. the people who have ever never seen a Star Wars movie, don’t care to see another Star Wars movie and/or don’t even know The Rise of Skywalker is here; (2) The relatively familiar – people who have seen one or two of the films, most likely the “original” three from the 1970s and 80s and are good with that; (3) the generally knowledgeable – they’ve seen all the films, but are not dedicated fans who can rattle of planet names or easter eggs from one film to the next; (4) the Comic Book Guys (or Girls). So named for The Simpsons-inspired character inspired in part by Star Wars-obsessive fans, they are protective of the franchise the way parents are a first-born child, love and hate different aspects of the series with the passion of a young Olympic boxer pursuing a gold medal and know so much Jedi/Sith trivia they would make Ken Jennings Jeopardy run look like child’s play.So, that all being said, as someone who falls into category 3 and knows plenty of people that fit into categories one, two and four, my spoiler free assessment of the last installment in the main Star Wars canon is this: Episode IX (nine for those who don’t remember their Roman numerals), while not perfect, contains enough positives to satisfy the people in the last two groups while perhaps making those in the first two groups curious enough to at least wonder what all the hype is about.

The previous Star Wars film, The Last Jedi, is a divisive issue among the hardcore fans as for as many people loved it, just as many seemingly did not – leading to it to serve as an “OK Boomer”-style case study in letting go of old things vs. embracing new possibilities. (You can read more about that here, here and here. Abrams has shared his thoughts on the matter extensively.) Whether that unconsciously (not likely) or consciously (most likely) played a factor in J.J. Abrams’ approach to the final installment may be up for debate, it won’t feel like it watching The Rise of Skywalker as the film tries to bridge a nostalgia gap for the old guard of fans while finishing the new work.

Here’s what most of you will care to know in regards to the actual quality of the film: The action sequences work well, Ridley proves herself capable of earning the massive responsibility her character is thrust into, Driver makes his character more than a Darth Vader clone and the classic elements of good vs. evil – complete with dad jokes aplenty courtesy of C-3PO. There are sky battles, ground battles, journeys across the galaxy to find missing pieces of information, character revelations, homages to the past … It’s a basic 2-and-a-half hour blowout of the things most fans have come to enjoy about the franchise.

Yes, it would be nice if Fisher hadn’t passed away before the filming finished (luckily for Abrams the cut footage from previous films fits in nicely). Likewise, some people may take issue with the incorporation of past characters into the film and their usage and the Palpatine situation may serve as the stuff of blogs and YouTube videos for many eons to come. Then again, when you’ve got over 40 years’ worth of cinematic history coming to an end, there is no way you’re going to satisfy everyone.

But, much like everyone’s favorite little green friend re-invented as a child on Disney+ once famously said, “Fear is the path to the dark side. Fear leads to anger. Anger leads to hate. Hate leads to suffering.” Thus, if you don’t embrace some change over the course of nine films, you’ve probably missed what Abrams and company have attempted to do: Deliver a fitting end to a story with plenty of history while giving it some fresh life along the way. After all, one must “Do or do not. There is no try.”

Keeping that sage-like wisdom will likely send most longstanding fans home happy from this galaxy to the next.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

McCoy on Movies: Jumanji: The Next Level

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Cast and crew reunite for a worthy return to the wild in Jumanji: The Next Level

“All right, we can’t call ourselves the Wu-Tang Clan … But we’ll come up with something cool!” Alex a.k.a. Jefferson “Seaplane” McDonough (Nick Jonas), Bethany a.k.a. Professor Sheldon “Shelly” Oberon (Jack Black), Martha a.k.a. Ruby Roundhouse (Karen Gillan), Spencer a.k.a. Dr. Smolder Bravestone (Dwayne Johnson), Grandpa Eddie (Awkafina) and Fridge a.k.a. Mouse Finbar (Kevin Hart) prepare to face the boss fight moment in a scene from JUMANJI: THE NEXT LEVEL. Credit: Frank Masi © 2019 CTMG, Inc. All rights reserved.

 

WATCH THE TRAILER(S) HERE:



 

KEY CAST MEMBERS: Dwayne Johnson, Kevin Hart, Jack Black, Karen Gillan, Danny DeVito, Danny Glover, Akwafina, Rory McCann, Ser’Darius Blain, Nick Jonas, Alex Wolff, Colin Hanks, Morgan Turner, Madison Iseman, Rhys Darby and Marin HinkleDIRECTOR(S): Jake Kasdan

THE BACK STORY: Despite almost having the game kill him and his friends, Spencer (played as a young man again by Alex Wolff) loved his experience in Jumanji – and why wouldn’t he? Whereas in real life he’s shy and awkward, in the game he was Dr. Smolder Bravestone (Dwayne Johnson), a muscular, brave leader who the ideal alpha male. Now, in real life, he’s just a college student working a crappy job in New York City away from his girlfriend Martha (Morgan Turner) and friends/fellow Jumanji survivors Fridge (Ser’Darius Blain) and Bethany (Madison Iseman). 


Coming home for the holidays, Spencer is welcomed home by his mom (Marin Hinkle) and his grandfather Eddie (Danny DeVito), the latter of which is recovering from recent hip surgery. But as Spencer is dodging hanging out with his friends, it turns out Eddie is also less than happy to see an old face when his former business partner Milo (Danny Glover), who has turned up after 15 years away mysteriously.


But before Eddie, Fridge, Martha or Bethany is able to figure out why Spencer is avoiding them or why Milo has shown up, they make a discovery that is about to change literally game: Spencer has for some reason and somehow been sucked back into Jumanji – and the game has been upgraded to the next level. 

THE REVIEW: In action comedy, you want the movie to make you laugh, you want the action sequences to be intense and you want the characters to be likable. In a sequel to an action comedy, you need the film to prove there is more to the characters we haven’t seen yet, the jokes to pay homage to the original film without being re-treads of punchlines and additional characters that enhance the story as opposed to making it feel bloated, out of sorts or just a lazy money grab.And like all good video games, Jumanji: The Next Level checks off all these standards to make its players – or in this case, the audience – ready to jump back in to play another round.

The Next Level has all of the things that made the previous Jumanji film worthwhile: Great chemistry among its cast; Black gets to play another hilarious out of body experience as does Hart as the slow-speaking Milo with Gillan, Johnson, DeVito and Awkafina all getting their respective chances to shine while pushing their PG-13 language limitations. The action sequences are thrilling (one in particular with a group of rampaging mandrills that is possibly too intense for young children) and the story maintains the underlying heart of friendship present in the first film while making sure the sequel has enough stamina to stand on its own. Thus, if you enjoyed Jumanji: Welcome to the Jungle, you’ll likely find The Next Level a fitting sequel full of entertaining adventure.

Whether or not a likely third adventure doesn’t suffer pitfalls (pun intended), however, remains to be seen …

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

McCoy on Movies

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Shults, cast shine in heartfelt – and stellar – Waves

“Now … Remember – this is a movie, not This is Us, so we won’t have commercial breaks!” Tyler (Kelvin Harrison, Jr.), Emily (Taylor Russell), Ronald (Sterling K. Brown) and Catharine (Renée Elise Goldberry) share a moment in a scene from WAVES. Credit: © 2019 A24 Films. All rights reserved.

WATCH THE TRAILER(S) HERE:

 




KEY CAST MEMBERS: Kelvin Harrison, Jr., Taylor Russell, Sterling K. Brown, Lucas Hedges, Renée Elise Goldberry and Alexa DemieDIRECTOR(S): Trey Edward Shults 

THE BACK STORY: Tyler Williams (Kelvin Harrison, Jr.) is a talented high school wrestler who has a lot going for him. Sure, his father Ronald (Sterling K. Brown) pushes him hard, but he’s got great support in the form of his stepmother (Renée Elise Goldberry), his sister Emily (Taylor Russell) and the “goddess” in his cell phone, a.k.a. his girlfriend Alexis (Alexa Demie).


Then, over the course of one night, his life changes forever – and so does the life of everyone close to him.


Their lives now turned completely upside down, the Williams family finds themselves struggling to recover in the wake of tragedy. But when Emily meets a shy classmate in the form of Luke (Lucas Hedges), she discovers she may hold the key to healing her family so that they can once again be whole. 

THE REVIEW: Finding the beauty of life and love out of tragedy and heartbreak … If there is one thing that you will take away from watching Waves – which honestly should be a nominee for Best Picture for all the reasons that past Academy Award-winner Crash shouldn’t have been – it should be this sentiment. For in crafting a tale full of promise, then self-destruction, then heartbreak and a resurrection of a chance of hope, writer/director Trey Edward Shults and his cast have created what may be the best film of 2019.Waves features a very simple story – to say more would be to give away too much – that would NOT simple to process in real life. As the domineering but well-meaning Ronald, Sterling K. Brown gives a powerhouse performance that serves almost like a “Hey – don’t forget me in the conversation of great African-American male actors” announcement, showing the type of sensitivity rarely seen in a lead black males role. It is the performances of and interaction between Russell’s Emily and Hedges’ Luke, however, that steals the show, rounding out Waves’ set of emotional exploration with grace, aplomb and wisdom beyond their years. Both show a level of talent and skill that drives their story arc home in a way people of all ages, races and orientations will likely admire and aspire to have in their own existence. There are some very hard moments to watch of self-destruction, turbulence and turmoil, followed by some extremely gentle, heartfelt and warm moments that may bring a tear of happiness as much as the others do out of sadness.

The performances truly bring out the radiance of the story of Waves, one in which you are fully immersed in the characters’ respective worlds. Shults’ nuanced work behind the lens makes the characters’ world come alive, in turn making their respective heartbreaks and outcomes all the more intense and more importantly, authentic and relatable. Watching one character’s self-destructive path give birth to the awakening of another’s could come off extremely clumsy or clichéd in the wrong hands; fortunately for Shults and company, their commitment to the tale makes everything work in grand fashion. Whether you are a parent, a confused adolescent trying to figure out the world, someone trying to overcome grief, a person holding on to a past tragic experience, Waves offers something most movies do not – therapy and hope – that may serve to help as much as it does entertain.

Yes, the story is compelling in and of itself, but it also looks to explore healing and what that may look like for many different people. Despite a predominantly African American cast, race is not the focus of the story as much as our general humanity is. That in turn may actually help in showcasing African-Americans in a way they are rarely shown in mainstream media, a fresh breath of air that explores the “we’re all human” notion without being blatant, over-the-top or fool-hearty (hence the earlier Crash reference). With apologies to Brown, one might consider it a long episode of This is Us that doesn’t explore the past or present as much as it does look towards the future.

In short, Waves should make waves upon its national release this week because in a world – pardon the terrible wordplay – full of storms, the film serves as an oasis all should experience.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: Queen & Slim

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Modern Bonnie and Clyde tale a frustrating and fascinating take on the aftermath of police brutality, modern love

“We may not be OutKast, but you gotta admit if this was our album cover, it’d be dope!” Slim (Daniel Kaluuya) and Queen (Jodie Turner-Smith) in QUEEN & SLIM, directed by Melina Matsoukas. Credit: Andre Wagner © 2019 Universal Pictures. All rights reserved.

WATCH THE TRAILER(S) HERE:



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KEY CAST MEMBERS: Daniel Kaluuya, Jodie Turner-Smith, Bookie Woodbine, Chloë Sevingy, Flea, John Sturgill Simpson, Benito Martinez, Jahi Di’Allo Winston, Gralen Bryant Banks, Bertrand E. Boyd II and Indya Moore DIRECTOR(S): Melina Matsoukas

THE BACK STORY: A story of Tinder connection gone terribly awry, Queen & Slim tells the story of a young man (Daniel Kaluuya) heading home from his first date with a headstrong young attorney (Jodie Turner-Smith). Playing around with a smartphone, the Cleveland, Ohio-based couple finds their night thrown into chaos when they catch the attention of Officer Reed (Sturgill Simpson) who pulls them over in the cold of night. 


Then gunfire erupts. 


Certain that no one will believe the truth about what has happened, the young woman convinces the young man they have one option and one option only: Run, or more accurately, drive. Scared and panicked, the young couple thus begins a journey that will see them run into a multitude of colorful characters, including but not limited to: (1) The young woman’s uncle Earl (Bokeem Woodbine) and his stable of ladies; (2) Sheriff Edgar (Benito Martinez); (3) a mechanic (Gralen Bryant Banks) and his son Junior (Jahi Di’Allo Winston) as well as a (4) Georgia couple played by Red Hot Chili Peppers’ member Flea and Chloë Sevingy along the way. 


The inadvertent Bonnie and Clyde are going to get to know each other quite well over the course of their journey, but the legacy they create on that journey be more impactful than either of them either envisioned. 

THE REVIEW: Queen & Slim, co-written by Emmy winner Lena Waithe (Bones, The Chi, Ready Player One, Master of None) with an assist from James Frey (A Million Little Pieces) who apparently shared the idea at a party, is an intriguing, frustrating, eclectic, eccentric, electric, conflicted and more-than-likely controversial example of filmmaking. It is not an easy watch by design, which in turn makes the film fascinating and frustrating and feel raw and refined at the same time. Some characters feel outrageous (or, in some cases, downright ratchet) to the point there are times the film feels like a blaxploitation piece. The language is gratuitous, the gunplay will likely be upsetting and anyone looking for “fair and balanced” coverage in regards to how the majority of police in the film are depicted would be wise to look elsewhere.For Queen & Slim is unapologetic in telling its very unconventional love story of the couple and to black America – and that is the point.

As the female lead (Queen and Slim’s actual character names are revealed late in the story), Turner-Smith’s character portrayal exhibits many of the qualities exhibited with the “strong black woman” archetype, which serves at times as both a positive and, in some cases, negative. Her headstrong nature works to both her advantage and detriment in the film, but as the audience comes to learn more of background, one can see how she has come into her own with the resulting person we see today. Likewise, once thrust into a situation he never expected or asked to be, Kaluuya’s character finds himself trying to do what so many African-Americans have difficulty doing: Enjoying life and finding love in the process.

While much more aloof and naive than his counterpart, Kaluuya’s character provides a bit of balance to Turner-Smith’s. This is in turn provides (albeit in a very unconventional showcase) life in America as a black person: Dealing with the struggle of a country where racism is prevalent and can harshly affect you every day while trying to enjoy the pursue the American dream of life, liberty and happiness.

What will be the most challenging aspect of Queen & Slim, however, is how different sectors of America react to the film. African-Americans will no doubt either empathize and/or sympathize with Queen’s and Slim’s plight and how it inspires people as the story unfolds while others may take issue with the ways in which it does. The film would make a fascinating case study in watching different audiences watch the film, for the ways in which the mainstream media simply dismisses Queen and Slim versus the way they are viewed by black people is a direct reflection of America itself. Likewise, while the aspects of sex and crime might make some say they are victims of their condition, others might see various characters in the film perpetuating their own problems – and in some ways, both could argue their points.

However, what would be the best case scenario is for different groups to use the film as a conversation starter, for there are two critical topics for which the film could serve as a litmus test: (1) Examining how and why Queen and Slim become urban legends (not in the horror movie way) and (2) how poverty and being perceived as criminals by the agents whose duty is to protect people is an ongoing problem and why it directly is tied to point no. 1. There are explosive moments in the film – the meaning of one in particular that could be argued in cable news show-style ad nauseam – which are meant to spark reaction and no doubt will so.

As Waithe herself as said in interviews, Queen & Slim is in her view “protest art” and an attempt for African-Americans to “create the heroes they need.” Given what unfolds in the film, there will be some (think conservative pundits) that have extreme difficulty seeing the characters as heroes, but that no doubt is part of the point. Thus, if you are uncomfortable, find the story disturbing or at the very least dangerous, Waithe and director Melina Matsoukas will probably be happy while at the same time being upset – for as long as America continues on its current path, they are certain more Queens and Slims will come along, for better and for worse.

This is what ultimately makes Queen & Slim is worthy of being seen, even if what you see is a love story for modern times, a disturbing – or honest – take on the aftermath of police brutality on the African-American community and/or somewhere in between.

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OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: 21 Bridges

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Chadwick Boseman, Stephan James make compelling drama out of familiar subject matter in 21 Bridges

“C’mon – I think I see the dude that convinced me to do Draft Day is right over there!” Andre Davis (Chadwick Boseman) and Frankie Burns (Siena Miller) rush in pursuit of two wanted suspects in a scene from director Brian Kirk’s 21 BRIDGES. Credit: Matt Kennedy / Motion Picture Artwork © 2017 STX Financing. All rights reserved.

WATCH THE TRAILER(S) HERE:


 

 

KEY CAST MEMBERS: Chadwick Boseman, Stephan James, Sienna Miller, Taylor Kitsch, Alexander Siddig, Morocco Omari and J.K. SimmonsDIRECTOR(S): Brian Kirk

THE BACK STORY: Andre Davis (Chadwick Boseman) is a detective in New York City. He had to be. It’s in his DNA, or at least that’s how he puts it. And given that his father was murdered on duty by three men – one of whom lived – his dedication to bringing criminals to justice rivals that of D.C. Comics’ biggest crimefighter Bruce Wayne. But while Batman may keep watch over a fictional Gotham, Andre is entrenched deep in New York City, which is why Internal Affairs is looking into his latest episode where he added to his growing body count of alleged criminals. Ray Jackson (Taylor Kitsch) and his partner Michael (Stephan James) don’t know Davis, but they soon will. For when it turns out the heist they’re involved in features 300 kilos of cocaine and not the 30 they were expecting, something seems off. Throw in an ensuing gun battle with a group of police officers who just so happen to show to the restaurant they’re robbing as if they were supposed to be there and Ray and Michael know something is wrong.

Arriving to the aftermath, Andre finds himself paired up with another detective, Frankie Burns (Sienna Miller) and a police captain in McKenna (J.K. Simmons) who want revenge moreso than justice for what has transpired. Quickly surmising the situation, Andre realizes the perpetrators have to still be in the city – which is why he orders all 21 bridges leading out of Manhattan closed. But the clock is ticking on Andre and Frankie … So there is no time to waste if they are going to catch the men responsible for what has happened.

THE REVIEW: While he has had plenty of roles in his acting career, Boseman has essentially become known for playing two kinds of people: Famous dead black people (Jackie Robinson in 42, James Brown in Get On Up and Thurgood Marshall in Marshall) and a certain costumed superhero from a fictional African country that helps save the world.21 Bridges showcases the depth of his talent – along with that of co-star James – to deliver an entertaining film despite having a very all-too-familiar style story with which to work.

Cops, robbers and conspiracy/cover tales are nearly as old as movies themselves; 21 Bridges doesn’t really do anything dynamic in regards to telling this type of tale (you can probably figure out most of what’s happening an hour or so into the film). What director Brian Kirk does do, however, is wisely present a stage where (1) the action sequences don’t feel forced and instead intense; (2) let Boseman take center stage and allow him to deliver a performance that is gripping enough to keep you interested as he breaks down scenarios and (3) trusts his actors, particularly Kitsch and James, to make their characters motivations, emotions and decisions relatable. Whereas last month’s Black and Blue dealt more with the issue of the thin blue line and which side of it African-Americans (both as police and possible perpetrators) fall on it, 21 Bridges is a standard tale of good vs. evil.

Whereas Boseman does a good job of playing the by-the-book-cop, he also does it enough style where it doesn’t feel so textbook that it lacks appeal. The same can be said for James, the co-star of the overlooked stellar 2018 release If Beale Street Could Talk. Giving his character a sense of humanity often lacking in shoot-em-up movies, watching Boseman and James play off each other adds to what would otherwise be another mash up of films that you’ve seen before.

Thus, while no one would – or should – expect 21 Bridges to do anything close to Black Panther business, it’s definitely worth seeing if you want to see Boseman flex his acting chops outside of spandex or a historical figure’s shadow.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: Frozen 2

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Anna and her sister return for enjoyable but not as magical Frozen 2

“This winter, it’s personal – no, it really is!” From left to right: Olaf (Josh Gad), Anna (Kristen Bell), Elsa (Idina Menzel, center), Kristoff (Jonathan Groff) and Sven return for FROZEN 2. Credit: © 2019 Walt Disney Pictures. All rights reserved.

WATCH THE TRAILER(S) HERE:


KEY CAST MEMBERS: Idina Menzel, Kristen Bell, Jonathan Groff, Josh Gad, Sterling K. Brown and Evan Rachel WoodDIRECTOR(S): Jennifer Lee and Chris Buck

THE BACK STORY: Following up on the events of the first film, Frozen 2 finds the magical Elsa (Idina Menzel) living happily in the utopian Arendelle with her sister Anna (Kristen Bell), her wanting-to-pop-the-question-but-unsure-how-to-do-so boyfriend Kristoff (Jonathan Groff), his beloved reindeer Sven and everyone’s favorite one-liner cracking snowman Olaf (Josh Gad). But not everything is as peaceful and happy as it seems.


As a flashback will reveal, the sisters’ parents told them of Northuldra, a forest where the people of Arendelle were enjoying a nice time with the natives until something happened and the two groups found their lives forever changed. And now, as fate would have it, a mysterious voice is calling Elsa, who has become more and more curious about the origin of her powers. Could the voice have something to do with her powers? Could there be a connection to Northuldra? 


There’s only way Elsa, Anna, Sven and Olaf are going to find out … Looks like a new adventure awaits! 

THE REVIEW: Sometimes a sequel is better than the original. Sometimes it’s worse. And then there are times where the sequel looks to deliver pretty much everything the first film had that made it successful … even if the second go round, while solid, lacks the magic of the original.The last option is the one that describes the collection of jokes and songs collectively known as Frozen 2.

Frozen 2 is not a bad movie. But if you are not a major fan of Disney’s princess collection of films, the plot is not likely to hook you in. Likewise, while some will undoubtedly find the collection of songs – especially Kristoff’s somewhat hilarious homage to 80s power rock ballads – entertaining, others may find them to be a bit repetitive in both tone and execution. (If you are not an opera fan, some of the jokes may feel a bit long in the ear, er, tooth.) Gad’s Olaf character gets to take center stage for much of Frozen 2 in terms of delivering a much needed levity to the affair, which is balanced by the cuteness factor of Bruni, the salamander representation of fire in the enchanted forest.

Frozen 2 adheres to the longstanding adage of “if it ain’t broke, don’t fix it” by making sure that if was in the first film, try to wedge it into the second film. While Elsa and Anna’s sibling rivalry has subsided, there’s still plenty of bonding in the story, as well as the idea of self-discovery, teamwork … and of course, good ol’ Olaf. Frozen 2 isn’t here to break new ground as much as it is to keep it nice and chilled as fans sing the songs long after they leave the theater. Whereas the first Frozen felt special and unique, 2 is like a slice of pizza from your favorite restaurant: satisfying but extremely familiar.

Thus, while it might be better suited for young children and Disney die-hards only, those two groups will love it … Even if everyone else might be happier if they just let it go and stopped before there is a part three.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: Charlie’s Angels

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Empowerment runs amuck over entertainment in maligned reboot of Charlie’s Angels

“Hey, what’s over there – is it the music video shoot we’re supposed to be in for the soundtrack?!” Townsend Agency agents Elena (Naomi Scott) and Sabina (Kristen Stewart) peer over into enemy territory with their newfound on-the-run client Jane (Ella Balinska) in a scene from writer/director/co-star Elizabeth Banks’ take on CHARLIE’S ANGELS. Credit: Nadja Klier © 2019 CTMG, Inc. All rights reserved.

WATCH THE TRAILER(S) HERE:



 

KEY CAST MEMBERS: Kristen Stewart, Naomi Scott, Ella Balinska, Elizabeth Banks, Nat Faxon, Jonathan Tucker, Luis Gerardo Mendez, Sam Clafin, Djimon Hounsou and Sir Patrick StewartDIRECTOR(S): Elizabeth Banks

THE BACK STORY: The product of a screenplay from and directed by Elizabeth Banks (who also co-stars), the 2019 version of Charlie’s Angels stars Ella Balinska as Jane Karo, a developer at an energy company owned by Alexander Brok (Sam Clafin). Her invention could help revolutionize energy as we know it, which is why her boss Peter Fleming (Nat Faxon) can’t wait to show it off despite the fatal flaw that could allow the project – codename Kalisto – to become weaponized. You see, Kalisto could be hacked to release a devastating electromagnetic pulse (EMP for short) in the wrong hands, which is why Jane wants to stop the project from going forward. Peter, however, has his own ideas and wants to get the product to market as soon as possible.


Jane, however, is about to have a bigger problem on her hands when in attempting to meet with a man named Bosley (Djimon Honsou), an assassin (Jonathan Tucker) tries to kill her. This leads to Jane meeting up with the rebellious Sabina (Kristen Stewart) and no-nonsense Elena (Naomi Scott), two female secret agents who work for the Townsend Agency – the same agency that employs Bosley … the soon-to-be-retiring Bosley (Patrick Stewart) … And the woman Jane will also come to know as Bosley (Banks). 

Confused? Well, you should be – it’s about to get a lot more complicated from here. And that’s why Jane’s guardian angels are about to try to save not only her life, but the world, too.

THE REVIEW: In the era of “woke” and “cancel” culture in the wake of the #MeToo movement, one might be inclined to see Charlie’s Angels as an example of empowerment in the action comedy genre. It could be taken as an attempt to show women being just as strong, sophisticated and stylish as their male counterparts with modern women in control of their careers, their bodies and life in general. There’s just one little problem with that, however, as it pertains to the film.In the quest for empowerment, Charlie’s Angels lacks a lot in the entertaining department and nearly ends up becoming at best a caricature of what it wishes to destroy in terms of the cinematic patriarchy and at its worst, an unmemorable movie.

Now, before one accuse yours truly of a blatant case of mainsplaining, let me simply point to the film’s opening scene as an example of empowerment run amuck: Stewart’s character is literally explaining to the audience why women are underestimated, unappreciated and generally taken for granted as underachievers. This is balanced out, of course, by a male antagonist so taken with her beauty, he must then via his substandard, terribly over-the-top dialogue explain why everything she is saying is basically wrong – only of course to get his comeuppance because Stewart’s seductive agent has been setting him up. Of course the audience knows it, but the film makes sure to spell it out for them because it wants to drive home the point of the entire 80 minute-plus experience: Women can do whatever and they’re gonna do it loud, brash and however they want.

Unfortunately, as the heavy handed scene also shows, in the case of Charlie’s Angels, they’re gonna hit you over the head with it at every possible turn.

Charlie’s Angels wants to be the ultimate badass female movie: It attempts to feature Stewart as a wise-cracking rebel who’s quick with her one-liners, the Rihanna-esque Scott as a … Rihanna-esque no nonsense agent (who is by far the most believable character) and Balinska as an awkward, fish out of water just trying to do the right thing. Problem is, Stewart feels like she’s doing her best imitation a female action movie hero and it’s never believable, Balinska’s fish out of water is so out of water it’s almost like a live-action cartoon a la The Simpsons and Scott feels like she’s overcompensating for the other two. None of the three characters are really developed beyond a simple explanation (“She grew up rough!” “She’s smart” “She’s smart and nerdy and awkward!”). The timing of the sexualization of their characters comes off a bit misplaced (“Let’s infiltrate this mansion … With a fully choreographed dance routine as part of our cover!”), the fight scenes are comical when meant to be serious and just silly when they meant to be comical and the heavy-handed storytelling makes sure to guide the audience instead of letting things play out more naturally.

Complicating matters further is the fact the jokes are (1) usually forced (2) usually stale and (3) just not working. The male characters are either complete bumbling morons to the point you can’t take any of them (save for Jonathan Tucker’s heavily tattooed assassin) seriously or so sleazy they might make Harvey Weinstein wince. Charlie’s Angels may go down as Stewart’s worst performance in eons. While his Bullock character on Seth McFarlane’s now exiled to TBS cartoon American Dad! is supposed to be a buffoon, the fact this character is supposed to be taken seriously is cartoonish in and of itself.

It doesn’t make for a great viewing experience outside of its target audience: Young women who want to see young women be heroes, no matter how ridiculous the story and how over-the-top pretty much everything else in the mix may be. In trying to be empowering, it almost comes off as egregious and does the very opposite of what it wishes to do for all audiences. Just like this year’s earlier action detective reboot Shaft (which had slightly better jokes … slightly), Charlie’s Angels just isn’t memorable as much as it is missable.

As a sign of very heavy foreshadowing, the music video for the lead single from the film’s soundtrack – the inane “Don’t Call Me Angel” by polarizing pop stars Lana Del Ray, Ariana Grande and Miley Cyrus – is pretty much an entire encapsulation of the project: A group of artists begging people to take them seriously by exhibiting a ton of “I don’t need your approval” attitude … While falling into every negative trope of using overly and overtly sexual grinding, lip-biting possible in a desperate attempt for approval. Don’t believe me? Check out this lyrical wizardry for yourself:”Uh, don’t call me angel when I’m a mess,
Don’t call me angel when I get undressed,
You know I, I don’t like that, boy,
Uh, I make my money, and I write the checks,
So say my name with a little respect,
All my girls successful, and you’re just our guest”

Thus, much like the aforementioned song, Charlie’s Angels whole point seems to exist for the sake of simply extending a middle finger to the cinematic patriarchy … Which would be fine if it has deeper characters (it doesn’t), an interesting, rich story (absent), or just anything that felt original, fresh and inspiring (no dice). Instead, it comes off as maligned as when Poochie was introduced on The Simpsons‘ beloved cartoon-within-a-cartoon “Itchy & Scratchy” and with similar results.
So, don’t call them angels if you like … But much like the aftermath of a bad date, there’s a good chance you shouldn’t just call, period.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN): 

 

McCoy on Movies: BLACK AND BLUE

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Cop drama toes line between reality and fiction to its advantage, target audience’s enjoyment

“OK, if they try to put Cardi B. in the next Fast & Furious movie, I’ll go – Wait! They already did it?!” New Orleans Police Officer Alicia West (Naomie Harris) prepares to fire on a would-be assailant as Mouse (Tyrese Gibson) looks on in a scene from director Deon Taylor’s action thriller BLACK AND BLUE. Credit: Alan Markfield © CTMG Inc. All rights reserved.

WATCH THE TRAILER(S) HERE:


 

KEY CAST MEMBERS: Naomie Harris, Tyrese Gibson, Frank Grillo, Mike Colter, Reid Scott, Beau Knapp, James Moses Black and Nafessa Williams DIRECTOR(S): Deon Taylor

THE BACK STORY: Alicia West (Naomie Harris) is many things. She’s a veteran with two tours in the Middle East. She’s a woman with no family now that her mother passed away earlier this year. And she’s a native of one of the most notorious wards that was done no favors by Hurricane Katrina.


Now, she’s a rookie member of the New Orleans Police Dept. working with her partner Jennings (Reid Scott) learning the beat. So, when Jennings begs her to take her place on a night shift, Alicia decides to take his place so he can go enjoy date night with his wife. 


Brown (James Moses Black), the veteran officer she’s with, isn’t the nicest fellow in the world, but he’s still a cop like Alicia so she respects him because, after all, they both back the badge. So, despite being told to stay in the car, once she hears gunshots, she’s going inside to make sure Brown isn’t in trouble.


Then she finds out Brown – along with narcotics officers Malone (Frank Grillo) and his partner (Beau Knapp) – are the ones she needs to be afraid of.

Aided only by an unlikely alliance with a local super market employee, Jackson “Mouse” Milo (Tyrese Gibson), Alicia is on the run to upload the footage on her body cam to put away the bad guys. But given that she’s now got (1) crooked cops after her; (2) local drug dealer Darius (Mike Colter) and his entire crew after her and (3) the ‘hood thinking she is the one behind a crime she didn’t commit, she’s going to be forced to make a choice: Is she more black than she is “blue” – and will it ultimately matter if no one believes her story.

THE REVIEW: On its surface, Black and Blue is a very easy movie to dismiss as it has a somewhat familiar premise (cop sees bad cops do bad stuff) and the inherent issues (African-Americans trust of the police, African-Americans in the line of police work – see HBO’s new take on Watchmen for more – etc.) within. What keeps Black and Blue from being another run-of-the-mill Training Day knockoff is how the cast and crew approach and deliver the story.Now, to be honest, there are plenty of things that will either enhance or detract from your Black and Blue viewing experiences, hence a need to explain them here. So, if you:

 

  1. Are African-American;
  2. See the film with an audience also full of minority members relating to the characters on screen in a prime example of groupthink; and
  3. Are familiar, either through the news or sadly, personal experience, with the types of police officers and “‘hood rules” present in the film, it will enhance your viewing experience.
On the flip side, if you:
  1. Are not African-American/a minority;
  2. Dismiss many of the stories in the news like this, or this, or this, or this, or this, or – I think you get the point; and
  3. Don’t believe life imitates art and vice-versa, well … Black and Blue will likely just come off as another crime caper that ventures a little bit too far into the ridiculous (there’s really only one or two incidents of that) to be anything significant.
That notwithstanding, Black and Blue works on a basic level as Harris’ makes her character intriguing despite her extreme naivety (the audience is almost ahead of her the entire movie) and the tense nature director Deon Taylor builds throughout the film. Given that Taylor’s most three recent feature lengths were the awful The Intruder (2019), the forgotten Traffik (2018) and the absolutely atrocious Meet the Blacks (2016), it seems he’s finally found a way to take his knowledge of African-American cultures and put them into a thriller that actually makes sense.
While the film doesn’t feature anyone who’s a standout name on their own (Harris is a solid actress but be honest, you probably couldn’t pick her out of a lineup by name if you don’t follow her career), Taylor uses his players well. Grillo is a quintessential character actor in the role of either a criminal or cop (check his IMDB for proof), Brown channels Bill Duke extremely well to the point you’ll find yourself surprised it’s NOT him and Gibson wisely follows Harris’ lead to move things along well. Mike Colter even does a nice job of showing he can play the opposite of his better known Luke Cage alter ego as the drug dealer heavy Darius. Of course, that’s what an actor is supposed to do, but it’s done with convincing fashion. It’s a trope, but it’s one that works. The story turns are easy to see coming, but again, thanks to the dedication of the cast, they don’t feel as stale as they otherwise would.
But to go back to the earlier checklists and why they are relevant to your enjoyment of Black and Blue, let me explain it like this: If you have experienced harassment by the individuals meant to protect and serve you, you will feel a connection to the characters in the film that are not law enforcement officials. If you are a minority trying to toe the thin blue line, you will understand all of the internal and external strife Harris’ character does being turned away by both officers and her own community. And even if you haven’t experienced it, if you have watched recent developments in America you will understand the impact of these things on both Harris’ character and others in the film. But, if you do not and worse yet, care not to know, Black and Blue will ultimately be a work of fiction and nothing more.
The reality is though all good works of fiction are stemmed in some form of truth – and Black and Blue has far too much reality around it to not make the fictional parts seem real, or, in the case for many, hope they could be, too.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):